Ajee kyun roothh gaye sarkaar
Posted on: May 19, 2026
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
6514 | Post No. : | 20254 |
Today’s song is a trio from an obscure film Oonchi Haveli-1955.
Though the HFGK mentions this film as a social film, from the photos of this film which I have seen, this film looks more of an action packed Costume drama of B grade. I am calling it a B grade film, because the cast of this film has featured well known artists of that time. It had Nirupa Roy (as a Stunt Girl)), Karan Dewan, Lalita Pawar, Bhagwan, Janaki Das,Yashodhara Katju, B.M.Vyas, Indira Bansal, Heera Sawant and many others, including a Guest artist-N5iranjan Sharma. Music Director was Pt. Shivram Krishna.
The film was produced by Sharad productions, which was owned by the film’s director Dhirubhai Desai. Sharad was his son’s name. Dhirubhai B. Desai was a Hindi and Gujarati film director. He was born in Kaliawadi,near Navsari,Gujaratrat, on 31-1-1908.
He directed 17 silent films and 56 Talkie films in Hindi. Some of his notable Hindi films are Dilli ka Thug-35,fashionable wife,Bhakta Prahlad-46,bhakta Pundalik, Oonchi Haveli, Saranga-60, Kailashpati, Badrinath Yatra and Sampoorna Teerth Yatra etc. His last film was Daaku aur Bhagwan-75. He died on 30-7-1990.
Today’s song from the film Oonchi Haveli-1955 is a Trio, sung by Asha Bhosle, Shamshad Begum and Parshuram. Everyone knows about Asha and Shamshad, but how many of us know about Parshuram ? Here is some information on Parshuram…
TIME is a great leveller. So is our film industry.This industry has lifted many people from rags to riches and also some have been dragged from riches to rags. This is Maya Nagari. Those who thought that all that glittered here was Gold,suffered the bitter effects of the stark reality.
There are umpteen number of cases in the industry where the Artists who reached a certain height in their professional career, died unsung, unknown and unattended. There are instances like Parveen Babi,Lalita Pawar and Nalini Jayawant, whose deaths went unnoticed, unknown and when they were found, it was too late. For many the end was violent, like Sayeeda Khan(murdered), Director Brij(suicide), Madholal Master, MD (Murdered), Vasant Desai (crushed between lift doors) or Shankar Dasgupta (came under the local train). Some committed suicide like Guru Dutt, Radha kishen and Bulo C Rani etc.
But the worst is when the death does not come quickly and the last days are spent in poverty, begging or being bedridden without attendants. Master Nissar, whose popularity was such that the Bombay Governor had to stop and give way to his fan crowds, died penniless in Kamathipura slums. His last rites were done by the Artists’ Assn. The charming, bubbly Meena Shorey begged for daughter’s marriage and died unsung, penniless. Her last rites were done by charity donations.
Wasti,one time Hero was seen begging near Liberty Talkies in Bombay. Rattanbai,one time famous singer and actress, begged at a dargah, as did Khan Mastana.
Rajkumari, Vimi, Dwijen Mukherjee, Bharat Bhushan, Bhagwan spent their last days in penury,humiliation and obscurity. Cases are many and varied. The point is life in the film industry was tough for many.
When I heard about the plight of PARSHURAM, narrated by Tabassum on Television, I felt very sad. Parshuram was an actor/singer I remembered most for his wonderful song “Man saaf tera hai ki nahi” in the film Duniya Na Mane-1937. I was keen to know more about him. I tried every possible source in my knowledge, but nowhere could I get any information about him.
It is extremely difficult to get/collect information about old time actors/singers,because records are kept only for the famous and well known artists.Unless you find some close relative,you can’t get any authentic information.Once the artist becomes very old ,even he can not give much information as his memory fails him.Sometimes they may give wrong information,albeit with good intentions,but it does not corroborate with other sources.I have come across close relatives of some old artists,who expected money for the barter of information.They thought that we must be making money by writing about them.For a common man,it is beyond his imagination that anyone can do this work merely out of love for old films/songs/artists.In this selfish world we can not blame them for this . History is witness to the fact that almost every project-be it writing History,collecting rare data,inventing things or helping social causes has come out of obsessive love for it rather than for the money it might accrue !
I had written once an article on this Blog,referring to Parshuram. One of the readers from Australia drew my attention to a comment made by a person on Parshuram’s song on YouTube. He had claimed to be Parshuram’s grandson. I was thrilled. I immediately wrote to him, and to my delight, found that he indeed was Parshuram’s grandson.
Mr. MANGESH BARDE,grandson of Parshuram( Daughter’s son ),was settled in New Zealand, with his family (wife and Son ). Later he shifted to Australia. He not only responded to my EMail, but also got in touch with his mother in Mumbai and asked her to get in touch with me. Sure enough,I got a call from his mother and after confirming my credentials and genuine interest,she agreed to meet me in early January 2013.
On the appointment day,I went to her residence in Bandra, Mumbai, where she stays alone after her husband’s death.She was working in Indian Customs Dept., till she retired sometime back. Her two daughters are married happily. One stays close by on Pali Hill,Bandra. She too joined us,after some time.
On her own request,I can not reveal her identity,name or address.
From her home, we spoke to her son in Newzealand, via the SPYKE facility. Mangesh is a very handsome young man. He works for an airline company there.We 3 had a lot of discussions and I got a fairly good amount of information about Parshuram. His daughter had kept some very old photographe and cuttings of an article from a Marathi magazine, on Parshuram-which did not have much information and whatever was there, was mostly incorrect, as per her.
PARSHURAM LAXMAN SONNIS was born in a small village of Ahmednagar district of Maharashtra,in a very poor family.From the childhood,he was fond of acting and singing.He used to do mimicry and regale people.Due to poverty,his education did not go beyond 4th std,but he was fond of reading and used to read himself many books or whatever came to his hands.This improved his language and also his knowledge.
When he was around ten,his father shifted to Bombay.he tried to fix Parshuram as an extra in Ranjit Movietone.After an year or so,after realising that there was no scope,he left it. Then his father would take him on shoulder and look for jobs,while Parshuram used to sing songs from films.One day when they were doing this,V.Shantaram crossed them.Hearing Parshuram’s song,He followed them and then asked his father to leave Parshuram in his custody at Prabhat Film co. at Poona to groom him to become an actor. Delighted with this father agreed and left him at Prabhat. Thus started a journey of life.
In Prabhat,he was on a salary of Rs.5 pm plus food,shelter and clothing were the perks.In Prabhat Parshuram took the opportunity to learn music from stalwarts like Master Krishnarao Fulambrikar and Keshavrao Bhole-big name in classical and film music that time. Being a good learner Parshuram picked up singing quickly.
His first break came when he was given a singing role of a beggar boy in Prabhat’s iconic milestone film -Duniya na mane-1937. The song was ” Man saaf tera hai ki nahi”. He sang the song so beautifully that Shantaram and all others at Prabhat were very much pleased. His acting was also flawless. He sang in the film’s Marathi version-Kunku too. The song became very popular and it opened doors for another role soon.
In 1938,Prabhat made a Bilingual film( Hindi and Marathi)-GOPALKRISHNA. Parshuram got the meaty role of PENDYA- the childhood friend of Krishna and a leader of othe Gope children of Gokul. The role was important and big. He sang 3 solos and a duet in this film.The duet was with Shanta Apte and Ram Marathe both expert singers,but Parshuram sang with them with equal expertise. Same year he acted in yet another Bilingual (Hindi/Marathi) film of Prabhat- Mera ladka-38 (Maza Mulga in Marathi). In this film he sang just one song, with Master Chhotu, a stage and Drama artist of repute.
As per those days’ customs it was time for him to get married,as he was about 18 now. He got married to LEELABAI, a girl selected by his father. This was in 1940. V.Shantaram gave Rs.500 for his marriage. In those days, it was a big amount and the entire marriage was done with that money without any problem.
Parshuram was very happy. He was sure that his career will take off from here now, but Alas ! He was not given any role in any of the Prabhat films, after this . This was the time when V.Shantaram was having problems in Prabhat and it was rumoured that he was leaving it.As Parshuram was an actor of his ‘camp’, he was shunted aside and he continued being only a servant of Prabhat doing household work in Directors’ houses. Frustrated, he left Prabhat. He got a role in National Studio’s Meri Duniya-1942.he sang 3 songs in it but no records were made for any of the film’s songs.
Meanwhile V.Shantaram also left Prabhat and started his own Rajkamal Kalamandir Studios and production company. He called Parshuram and employed him on an 80 rupees pm salary. Parshuram got a role in Rajkamal’s first film ” SHAKUNTALA”-1943. Parshuram did the role of KANVA MUNI- the foster father of all Ashram Girls including Shakuntala. In this film he sang 2 songs, with Jayashree (Shantaram’s wife) and Zohrabai Ambalawali.
His family needs were increasing and no new films were offered to him after Shakuntala. With Shantaram’s consent, he started doing films outside. However he also did some films of Rajkamal whenever called.He acted in Jeevan Yatra-46,Matwala Shayar-47(Marathi version Lokshahir Ramjoshi),Apna desh-49,Teen batti Char Raasta-53 and Geet gaaya patharon ne-64,all from Rajkamal stable.
He started getting regular films from Chor Bazar-54,H.No.44-55,Jagte raho-56,Bhagam Bhag-56.
His big break came when Bharat Bhushan called him for an important role of court singer in his home production, BASANT BAHAR-1956.He sang on screen the all time famous song of Bhimsen Joshi and Manna Dey ‘ Ketaki gulab Juhi champak…”.Perhaps he is the only one, in those days,to get a playback from Bhimsen Joshi !.
Then came Khuda ka Banda-57, Khazanchi-58, Barkha-59, Shriman Satyawadi-60, Saranga-61, King Kong-62, Aashiq-62, Main chup rahungi-62, Aap ki Parchhaiyan-64, Rustam e Hind-65, Bheegi Raat-65, Bharat Milap-65, Laadla-66, Ram aur Shyam-67, Majhli Did-67, Suhag Raat-68, Safar 70 and Man mandir-71.
He also worked in 6 Marathi films-Kunku,Gopalkrishna,Maza Mulga,Lokshahir Ramjoshi,Amar Bhoopali and Vyjayanta. He had good relations with AVM bosses and he used to go to Madras by Air in those days for shooting.
After 1968,his bad period started.He met with an accident,broke his leg and a rod had to be fixed in his leg.He started limping now.Films were not coming. His type of singing and acting was out of date. He got into bad company and started drinking, in frustration. Even on sets he used to go drunk. Somehow he worked in a few films as Extra-uncredited. His family life was devastated due to his drinking. His wife and son deserted him. They too had to make two ends meet somehow. Parshuram started asking,borrowing money from everybody for drinks. People avoided him.He became almost a beggar.
One day actress Tabassum saw him at the Lucky Hotel traffic light at Bandra, Mumbai. She recognised him as she had acted with him in some films. Her film based TV show “Phool Khile Hain Gulshan Gulshan” was in full swing in the 76-77 period. She stopped her car,took him to the TV station. Fed him , cleaned him, gave him some clothes and did a live Talk show with him in her programme. She gave him Rs.1000 on the spot. After this interview was telecast,many people were moved by his story and wanted to help him.Shiv Sena announced a pension of Rs. 100 pm to him. However, the money was never paid.
His condition was so bad that he was unable to do any work. Rejected by family and spoiled by Alcohol, he was found unconscious on the footpath, one day (his daughter was already married and was away). Some good samaritans took him to Bhabha Hospital and informed his family. Neither his wife nor son went to see him. By the time daughter came to know, he was dead, on 24-1-1978. His daughter did his last rites etc.
His wife died soon after on 26-6-81 and son died in 1982.
Here is the trio song from today’s film. Enjoy….
Song-Ajee kyun roothh gaye sarkaar (Oonchi Haweli)(1955) Singers- Shamshad Begam, Asha Bhosle, Parshuram, Lyricist- Bharat Vyas, MD- Pt. Shivram krishna
Lyrics
aa
jaa
aao
jaao
ajee aao jee aao jee
ajee jao jee jaao jee jaao jee
ajee kyun roothh gaye sarkaar
ajee kyun roothh gaye sarkaar
muhabbat mein aisee taqraar
naheen achchee mere dildaar r
ajee tum baalam bade hee ganwaar
main aaoongee dil rakhtee sau baar
magar tum thhukraatee har baar
isee se main roothh gayee dildaar r
aa
jaa
aao
jaao
ajee aao jee aao jee
ajee jao jee jaao jee jaao jee
maalik ne tumhaare seene mein kya naheen banaayaa dil
ajee dil to banaayaa hai bahut bada
par naheen tere qaabil
o dil mera naheen tere qaabil
ajab teree qudrat hai kartaar
kare naaree se naaree pyaar
chalega kaise ye sarkaar
aa
jaa
aao
jaao
ajee aao jee aao jee
ajee jao jee jaao jee jaao jee
ajee kahoon na kasoor
hua hai huzoor
jo rehte ho itnee door
poochho ye baat vidhaata se
jise naata naheen manzoor
ho tera mera
o mera tera
naata naheen manzoor
ajee tum mehlon kee gulnaar
main ik chhota sa chowkidaar
miley ye kaise mel hamaar r
aa
jaa
aao
jaao
ajee aao jee aao jee
ajee jao jee jaao jee jaao jee
o o o o
o o o o
??
?? ke hathh ye
hathheele hamen kya
garwa lagaaoge
o o o o
o o o o
garwa lagaane mein
goree ko le aane
dhokha hee khaaoge
sarra sarr dhokha hee khaaoge
ae ae ae
ae ae
ajee mat roothho meree sarkaar
hato tum jhoothhon ke sardaar
chhodo taqraar
karo aitbaar
manaane aao hamen sau baar
magar sab jaayega bekaar r
ajab teree qudrat hai kartaar
kare naaree se naaree pyaar
chalega kaise ye sardaar
mere kartaaar
kartaar
aa aa aa
aa aa aa aar
aa aa a aar
o oo aa aa aa aa
aa aa aar
kartaar
baa a aa a
mere kartaar
mere kartaar
mere kartaar
mere kartaar
aah haha ha
2 Responses to "Ajee kyun roothh gaye sarkaar"
May 19, 2026 at 1:56 pm
I had not heard of the artiste Parshuram before this. Thank you for the well-researched biography, not only of Mr. Parshuram but also of the many, innumberable artistes, which you have kindly posted here. It is indeed an invaluable service. Salutes to you dear sir!
LikeLike
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
May 19, 2026 at 12:27 pm
It was fun listening to this song.
A minor correction, if I may allow myself
For my ears “main aaoongee dil rakhtee sau baar“ sounded as “main aage dil rakhtee sau baar” So to say, I am presenting my heart to you repeatedly.
The ?? sounded like jode ke hatt ye.
Thank you again for this wonderful trio.
LikeLike